消費視域下的青春婚戀題材電視劇研究
發(fā)布時間：2018-12-12 22:07
【摘要】：婚戀劇之所以從誕生以來就常播不衰，最重要的原因是，它像時代的一面鏡子，無論是男女老少，都能從中看到自己家庭的影子。隨著80后等新一代青年社會和家庭主體地位的上升，人們越來越關注80后青年的婚戀問題，他們的愛情、婚姻、家庭跟隨時代洪流產(chǎn)生了新的變化，于是，青春婚戀題材電視劇搬上熒屏。由于市場經(jīng)濟的發(fā)展，商業(yè)法則越來越滲透到文化領域，大眾文化和消費文化的崛起，促進了電視劇行業(yè)的繁榮，青春婚戀劇的創(chuàng)作不可避免的受到了市場規(guī)律和消費文化的影響，青春婚戀劇的消費特質(zhì)也日漸顯現(xiàn)，本文希望從消費文化的角度出發(fā)，對青春婚戀劇做一個初步探析。 本文的緒論部分著重對本文的對研究主體——青春婚戀劇做出詳細的闡釋，指出青春婚戀劇是青春偶像劇與家庭倫理劇的綜合體，拋棄了偶像的淺白和家庭倫理劇的苦情，取兩者之優(yōu)長。同時，與傳統(tǒng)婚戀劇對比，指出將青春婚戀劇對傳統(tǒng)婚戀的繼承和發(fā)展。第一章主要是對青春婚戀劇進行一個整體把握，通過梳理青春婚戀劇的發(fā)展歷程，，并對眾多作品進行主題上的解讀，包括傳統(tǒng)與現(xiàn)代的沖突與妥協(xié)、情感與物質(zhì)的雙重較量、“剩男”“剩女”的婚姻之路和為人父母的身份升級等四大類；第二章是對青春婚戀劇的生產(chǎn)機制進行分析，指出消費主義邏輯已經(jīng)滲透在其制作與傳播的過程中，青春婚戀劇具有模式化、時尚化和娛樂化的消費屬性；第三章結合消費文化來探討青春婚戀劇如何與日益盛行的消費文化共謀，并且推行和散播消費主義意識形態(tài)的，主要包括三方面：植入式廣告、參與生產(chǎn)商品意義、展示生活理念和消費方式；本文的第四章，對青春婚戀劇所反映的文化問題做出反思。青春婚戀劇作為時代的產(chǎn)物，在其作品中不可避免反應了消費時代的某些特質(zhì)和文化征兆，主要剖析青春婚戀劇所反映的消費時代的婚戀觀及其倫理沖突，同時結合“身份認同”理論分析，消費主義盛行而導致的80后青年的身份焦慮與認同危機。
[Abstract]:The most important reason why marriage drama has been broadcast since its birth is that it is like a mirror of the times in which men, women and children can see the shadow of their families. With the rising social and family status of the post-80s generation of youth, people pay more and more attention to the marriage and love of post-80s youth. Their love, marriage and family have changed with the tide of the times. Youth marriage theme TV series on the screen. With the development of the market economy, the commercial law has penetrated more and more into the cultural field. The rise of popular culture and consumer culture has promoted the prosperity of the TV drama industry. The creation of the youth marriage drama is inevitably influenced by the market law and the consumption culture, and the consumption characteristics of the youth marriage drama are also gradually appearing. This article hopes to make a preliminary analysis of the youth marriage drama from the perspective of the consumption culture. In the introduction part of this paper, the author makes a detailed explanation of the main body of the study, youth marriage drama, and points out that the youth marriage drama is a combination of the youth idol drama and the family ethics drama, and abandons the idols and the bitter feelings of the family ethics drama, and points out that the youth marriage drama is a combination of the youth idol drama and the family ethics drama. Take the best length of both. At the same time, compared with the traditional love drama, it points out the inheritance and development of the youth marriage drama to the traditional marriage and love. The first chapter is a comprehensive grasp of the youth drama, through combing the development of youth love drama, and a lot of works on the theme of interpretation, including traditional and modern conflict and compromise, emotional and material double contest. "leftover men" and "leftover women" of marriage and the promotion of the identity of the four categories of parents; The second chapter is to analyze the production mechanism of youth marriage drama, pointing out that consumerism logic has infiltrated in the process of its production and dissemination, youth marriage drama has the consumption attributes of model, fashion and entertainment; The third chapter discusses how to conspire with the increasingly popular consumer culture and promote and disseminate the ideology of consumerism, which mainly includes three aspects: planting advertising, participating in the production of goods meaning. Show the concept of life and consumption style; The fourth chapter reflects on the cultural problems reflected in youth drama. As the product of the times, the youth marriage drama inevitably reflects some characteristics and cultural signs of the consumption era in its works, and mainly analyzes the view of marriage and love and its ethical conflict reflected by the youth marriage drama. At the same time, based on the theory of identity, the post80s youth's identity anxiety and identity crisis caused by the prevalence of consumerism.
【學位授予單位】：重慶工商大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J905
本文編號：2375311
[Abstract]:The most important reason why marriage drama has been broadcast since its birth is that it is like a mirror of the times in which men, women and children can see the shadow of their families. With the rising social and family status of the post-80s generation of youth, people pay more and more attention to the marriage and love of post-80s youth. Their love, marriage and family have changed with the tide of the times. Youth marriage theme TV series on the screen. With the development of the market economy, the commercial law has penetrated more and more into the cultural field. The rise of popular culture and consumer culture has promoted the prosperity of the TV drama industry. The creation of the youth marriage drama is inevitably influenced by the market law and the consumption culture, and the consumption characteristics of the youth marriage drama are also gradually appearing. This article hopes to make a preliminary analysis of the youth marriage drama from the perspective of the consumption culture. In the introduction part of this paper, the author makes a detailed explanation of the main body of the study, youth marriage drama, and points out that the youth marriage drama is a combination of the youth idol drama and the family ethics drama, and abandons the idols and the bitter feelings of the family ethics drama, and points out that the youth marriage drama is a combination of the youth idol drama and the family ethics drama. Take the best length of both. At the same time, compared with the traditional love drama, it points out the inheritance and development of the youth marriage drama to the traditional marriage and love. The first chapter is a comprehensive grasp of the youth drama, through combing the development of youth love drama, and a lot of works on the theme of interpretation, including traditional and modern conflict and compromise, emotional and material double contest. "leftover men" and "leftover women" of marriage and the promotion of the identity of the four categories of parents; The second chapter is to analyze the production mechanism of youth marriage drama, pointing out that consumerism logic has infiltrated in the process of its production and dissemination, youth marriage drama has the consumption attributes of model, fashion and entertainment; The third chapter discusses how to conspire with the increasingly popular consumer culture and promote and disseminate the ideology of consumerism, which mainly includes three aspects: planting advertising, participating in the production of goods meaning. Show the concept of life and consumption style; The fourth chapter reflects on the cultural problems reflected in youth drama. As the product of the times, the youth marriage drama inevitably reflects some characteristics and cultural signs of the consumption era in its works, and mainly analyzes the view of marriage and love and its ethical conflict reflected by the youth marriage drama. At the same time, based on the theory of identity, the post80s youth's identity anxiety and identity crisis caused by the prevalence of consumerism.
【學位授予單位】：重慶工商大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J905
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